The first blue chalk figure in the new portfolio sequence — a standing figure in left profile, the face clearly described and turned to the left, long straight hair falling from the crown down the back. The blue chalk on white paper produces a cool, high-contrast line unlike any previous work in the sequence: brighter and more graphic than the black chalk, warmer and more present than the green. The face in left profile is the most fully described face in the narrow-format portfolio so far: the brow, nose in profile, the lips, the chin, each specifically stated, the eye visible as a small mark within the profile. Below the face the neck descends to the shoulders, the body following the characteristic single-contour line — breast in profile, the belly's slight forward curve, the hip and leg below, the feet at the bottom.
The blue chalk is applied with the same single-contour confidence as the sanguine works, but with occasional interior marks — a dense hatched zone at the pubic region, a few parallel marks at the breast's underside — that add tonal specificity without moving toward the sustained shadow modeling of Works 1418 and 1426. The line itself is slightly multiple in places: the outer edge of the leg is redrawn twice in the lower half, the two lines close together, as if the first pass missed and the second corrected. These self-corrections are more visible in blue chalk than in the warmer media.
The CSV records 1419 as a two-sided sheet, meaning a second drawing exists on the verso — not currently photographed or available for analysis. The recto presented here is one of the most accomplished profile figures in the narrow-format portfolio: the clean profile line from crown to toe, the fully described face in left-facing profile, the long straight hair creating a second vertical line parallel to the body's right edge. The hair's straightness against the body's subtle curves is the drawing's most elegant formal quality.
The blue chalk introduces the fourth chromatic register in the new portfolio (after sanguine, black, and green), completing a remarkable expansion of the color palette across a relatively short sequence of works. In the earlier large-format portfolio, blue chalk appeared in the extended blue pencil series (Works 1119–1165); here, in the narrow-format portfolio, blue chalk appears for the first time, expanding the chromatic experiment. The fully described profile face — after several faceless works — makes this drawing among the most humanly present in the batch.